Mossa Some Eat it Raw

Mossa Some Eat it Raw
Photo: Martin Rondeau
Mossa (aka Jeremy Petrus) is the founder and manager of Complot Records, a main staple in sustaining the Montreal micro-house scene. His first full-length album Some Eat it Raw, presents intricately sliced up and reassembled vocals derived from a rich sample base, somewhat in the like of Prefuse 73 or Thomas Brinkmann’s Soul Center project — yet these samples are always accompanied by a funked up 4/4 house beat. Even after one listen Mossa’s use of a wide spectrum of instrumentation seems to come effortlessly, perhaps from his ten years of classical piano training, or his versatility in playing the guitar, analogue Korg keyboards, and handmade Theremins, or from his philosophy that everyday objects are potential noise-makers. First off, the intro track is a mix between a religious ceremony and a commercial that supports the military draft, setting the stage for the exploration of submission as a reoccurring theme; submission to the church, to the state, to the music, and to technology. "Brazil ’99” is a highlight with a thumping bass drum and funky rolling synth melodies over a chopped up chorus of vocals. "Sure Kill” is a beautiful and emotional filled conclusion to the album, particularly in Mossa’s use of the cello played by his friend Godot, a string serenade that gracefully emerges over a building bass and kick drum beat.

What’s the idea behind the secret track on Some Eat it Raw?
Ha! Well, there are some great underground events in Italy, where many talented artists from all around the world come and perform mostly theatrical shows. The one that struck me the most was a human circus, not a slick, cute and commercial one like Cirque du Soleil, but rather trashy and real: people imitating lions and jumping through fire rings and getting wiped. I taped parts of the show and here you have a bit of it!

Can you tell us a bit about the recent DJ Orchestra in Montreal?
I wanted to create a collective of DJs because we all work in our own little bubble in a DJ booth all alone in front of big crowds. The DJ Orchestra project is very challenging and disturbing for the artists, but also worth it. The result is very interesting but the process is what we find amazing. In terms of the Montreal scene, it’s evolving but is in a smooth phase right now. We are lucky to be able to travel and play all around the world; working from Montreal is nice, even though the Berlin calling rings from time to time! (Circus Company)